Despite its hokey title, the 1958 sci fi cult favorite I Married a Monster From Outer Space is a few notches up the totem pole in comparison to other "B" movies of the period. Produced and directed by Gene Fowler, Jr. and theatrically released by Paramount, the film has been out of print on DVD for a number of years. The Warner Archive has just released it as a burn-to- order title. The film stars Gloria Talbott as Marge Bradley, a small town girl who is engaged to local hunk Bill Farrell (Tom Tryon). However, just prior to their wedding day, Bill encounters an alien from outer space on a back country road and the being takes over his physical body. While the "new" Bill looks the same, his actions and mannerisms change radically. The once fun-loving young man becomes sullen and quiet, leading Marge to speculate what has caused these mood changes. Nevertheless, the couple gets married on the designated day, though Marge finds her wedding night to be anything but romantic, with Bill seemingly disinterested in his new bride. As the days go by, Marge becomes increasingly alarmed by Bill's behavior. Making matters more frustrating is her inability to conceive a child. (Maybe the fact that the dreaded production code at the time mandated that even husbands and wives sleep in separate beds might have had something to do with this particular problem.) Ultimately, Marge discovers a shocking secret: not only has Bill's body been taken over by an alien but the same dilemma has befallen many of the other men in town. In fact, Marge finds it impossible to escape or even to call outside the town for help. She finally manages to round up a posse of "real" men who set out to take on the invaders- only to find they are impervious to bullets. Seems the rather benign beings from another world have the same problem most cinematic space aliens have: their world has been threatened by a natural catastrophe. In this case, all of the women on their planet have died. Not only does this panic the male population, but it probably also caused sales to plummet in local nail and waxing salons. Realizing they must mate or face extinction of their race, the aliens sample numerous planets before deciding on taking over the male population of earth. Once achieved, they intend to figure out how human females will be able to produce their offspring...though their intent is to revert to their normal ghastly physical appearances. As space invaders go, these guys are fairly lame. They seem reluctant to utilize their abilities to use death rays to reduce their opponents into a pile of ashes. In fact, they seem to dig their faux human alter-egos especially since they discover that sex can actually be fun, especially with attractive earth girls. (On their home planet, sex was only for procreation purposes, an understandable policy especially if the women looked like the men.) It is revealed that the "real" men are being kept alive in a space ship while their dopplegangers have been wreaking havoc. Thus, it becomes a race against time to thwart the aliens before the few remaining human males fall victim to an identical fate.
The film is a blatant rip-off of Invasion of the Body Snatchers, although director Fowler doesn't show similar restraint in making the terrors largely unseen. Instead, the film makes liberal use of special effects and monster costumes, but they aren't half-bad when compared to most B sci-fi flicks of the era. The acting is also above par with Talbott achieving the rare distinction of being a '50s sci-fi heroine who doesn't turn in a laughable performance, though she does comply with the now mandatory act of tripping and falling in the woods while being pursued by the villains. Similarly, Tom Tryon plays it straight and emerges with dignity intact, thus not deterring him from becoming a successful leading man a few years later in major studio productions. (He would also become a bestselling author whose work includes the eerie classic "The Other"). In all, despite its hokey title, I Married a Monster From Outer Space remains one of the more enjoyable B movies of its era.
The Warner Archive DVD is identical to Paramount's out-of-print previous release. The transfer is crystal clear but, as with most Paramount titles of the period, there are no extras whatsoever.